Look at the birth of anything; it's always more violent than anything you could ever imagine.

In "Drive," there's a heightened male edge. In "Only God Forgives," it was almost crawling back into the womb of the mother. And now with "The Neon Demon," being reborn as a 16-year-old girl.

The vibe, it's that excitement. New York, you just can't describe it. You get a similar thing from Paris and London, but it's not New York.

People very quickly define success due to the amount of money something makes. In the end, I think everyone is searching for that experience. That's why we continue to go to the movies and watch television.

All my other movies have the same process. Same approach. Same amount of changes. Everything. Things being made up on the fly. Changing things around. Firing and recasting. Constantly, constantly, in chronological sequence, not really knowing how this is going to end up. That is the only dogmatic approach I take towards everything.

The minute you celebrate narcissism, which on one hand is very complex, it's very ridiculous. You have to love oneself with humor.

The conversations about a film are an example of success because then you know whatever you've done has resonated.